NEW YORK—Steady advancement in
image capturing electronics
makes lenses and lens electronics
selection more critical
in the image gathering process
than ever before.

Some broadcasters adding
or replacing cameras are beginning
to move away from
the standard 2/3-inch lens that
was the center of the broadcast
video camera universe
for decades. While this market
segment remains strong, the
market for broadcast lenses
and cameras is evolving in two
directions simultaneously.

CINE-STYLE AND 4K
According to Larry Thorpe, senior fellow at Canon U.S.A.,
Inc., one direction is “smaller,
lighter, less expensive camera
electronics packages.” Those who purchase
this new generation of less expensive cameras
often prefer a less expensive lens as
well. The other direction is high-end, such
as 4K, professional sports and cine-style
production applications.

Most TV news photographers and videographers
know that one camera and
lens does not fit all uses. At the network
level, many ENG shooters still carry two
lenses, one for wide angle work, and
another for telephoto shots and broadcast
lens manufacturers have responded
with single lenses that meet both needs;
Canon’s HJ17ex6.2B Series, Fujinon’s
HA14x4.5BERD and Angenieux’s 19 x 7.3
HD Video Lens all provide a single ENG
lens solution.

Many news organizations prefer shooting
long-form news magazine type programming
cine-style, with tighter control
of creative variables such as depth-of-field.
Some news magazine shows are shot with
smaller cameras such as Canon’s EOS C300;
others are being captured in 4K. Viewer interest
in 4K may be in its infancy, but broadcasters
are discovering distinct advantages
in cine-style production of commercials
and promos.

“One of the challenges of 4K is the
sizes of image sensors,” said Thom Calabro,
director, marketing and product development
for Fujifilm North America Optical Devices Division. For example,
the Red Epic is 31.4 mm diagonally while
Sony’s F65 is 27.9 mm and the ARRI Alexa
is 27.2 mm. All use a PL mount. The PL
mount, new to most broadcasters entering
4K production, was invented by ARRI in
the late 1970s to support the Super 35mm
film format. Fujinon’s Cabrio lenses use a
PL mount while Canon Cinema lenses can
be ordered with either PL or EF mounts.
Canon introduced the electronic focus
mount in 1987 for its EOS line of SLR film
and digital cameras. The EF mount remains
relevant due to the high number of EF
lenses many still photographers converting
to video already own.

KRGV-TV news photographer Mike Ortiz using the Canon XA10 professional HD camcorder on location for the Lone Star Emmy-winning report, "The Battle in Brooks County."

Calabro warns that “one challenge with
PL mounts is the relatively large size of
cameras using them.” There is a market that
needs functions best suited for over the
shoulder and pedestal mounted cameras,
and there is also a trend towards smaller
and lighter 4K cameras using smaller image
sensors. However, the size of pixels
on smaller sensors is a tradeoff. “The problem,”
Calabro says, “is getting enough light
to the sensor. Smaller pixels don’t hold as
much light.”

GETTING IT RIGHT
VS. GETTING IT FAST
The differences between
broadcast, professional, and
remote lenses boil down to
their specific application.
“Broadcast lenses are designed
for ENG crews shooting
under high pressure,”
Thorpe said.

In addition to being more
rugged, the electronics have
been refined by design as
well. Canon’s broadcast
lenses use 16-bit servos for
tight precision and programmable
recall. Broadcast
lenses with digital servos
also provide a flawless digital
interface for virtual sets,
robotics and sports events.
Lower-cost lenses that use analog servos
don’t provide the digital interface and are
also generally less rugged than their broadcast
counterparts.

Remote lenses have become increasingly
popular for remote pan-tilt-zoom
applications. Because they are designed
to be mounted on a camera that is permanently
installed, indoor remote lenses are
not necessarily designed for rough treatment.
On the other hand, outdoor lens
applications such as weather, traffic cams
and sports applications must be able to
withstand the elements and extremes.
Weatherproofing makes outdoor remote
lenses unique.

RUN AND GUN
Until about a decade ago, all broadcast
cameras required an optional lens—that
changed when Panasonic introduced the
AG-DVX100 featuring a high-quality built-in
lens. Most news shooters appreciate the
defensive weapon potential of traditional
over-the-shoulder broadcast cameras, but
many are also gaining an appreciation of
a new generation of feature-rich smaller
HD cameras. Some have permanent built-in
lenses while others offer lens options including
still photography and prime lenses.
Some camera and lens combinations provide
the shallow depth of field that creates
what some call the “cine look.”

Nearly everyone agrees smaller cameras
provide new creative freedoms and allow
more interesting angles and shots than
larger cameras. They also generally cost less
than traditional ENG cameras, which allows
news departments to put more HD cameras
on the streets.

“Broadcasters want more ‘run-and-gun’
for all sorts of ENG,” Thorpe said.

The infrared feature of a small Canon
XA10 helped KRGV-TV in Weslaco, Texas
capture memorable nighttime video that
was awarded a Regional Emmy. KRGV photographer
Mike Ortiz, who captured footage
of illegal immigrants crossing the border at
night, said the shoot included “interviews
with volunteers who patrol the ranchlands
in the dark looking for lost illegal immigrants.
The XA10 is small, versatile, non-intimidating,
and it gives us great video. That’s
what I need in my line of work.”